1 Luigi Gatti and the Collection of Salzburg Sources in the Library Of
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Luigi Gatti and the Collection of Salzburg Sources in the Library of the Conservatorio Luigi Cherubini in Florence Eva Neumayr, Lars E. Laubhold1 Summary: Ferdinand III., Großherzog von Toskana (1769−1824), regierte Salzburg nur von 1803 bis 1805. In dieser kurzen Zeit und wohl auch noch etwas später fügte er seiner Sammlung eine große Anzahl von Musikalien Salzburger Provenienz hinzu, darunter auch zahlreiche Abschriften von Kirchenmusik, vornehmlich von Werken Johann Michael Haydns (1737– 1806) und Luigi Gattis (1740–1817). Diese Sammlung wird heute unter dem Namen Fondo Pitti in der Bibliothek des Conservatorios «Luigi Cherubini» in Florenz aufbewahrt. Unter Beschränkung auf die Kirchenmusikalien der Sammlung ist der vorliegende Beitrag den Fragen gewidmet, welche Salzburger Kopisten von Ferdinand beschäftigt wurden und inwieweit Originalmaterialien aus dem Dommusikarchiv ihren Weg nach Florenz fanden. Die Rolle Luigi Gattis für die Sammlertätigkeit Ferdinands und die Bedeutung Großherzog Ferdinands für die Verbreitung der Musik Michael Haydns und Luigi Gattis werden beleuchtet. In the library of the Conservatorio «Luigi Cherubini» in Florence a large collection of manuscripts of Salzburg provenance has survived. Approximately 260 manuscripts of works by Michael Haydn, Luigi Gatti, Johann Ernst Eberlin, Anton Cajetan Adlgasser and others are part of the collection of Grandduke Ferdinand III of Tuscany (1769−1824). Ferdinand III, Grandduke of Tuscany, the second son of Pietro Leopoldo of Tuscany—later Emperor Leopold II—had left Florence for Vienna in the face of a French invasion in 1799. When in the Peace Treaty of Lunéville (February 9th, 1801) the Grand Duchy of Tuscany was awarded to the French, he was recompensed with the dukedom and electorate of Salzburg. He was also made Prince-Elector of the Holy Roman Empire. On April 29th 1803, he took possession of Salzburg and was warmly welcomed by the people. However, in October 1805, already, Ferdinand fled to Vienna, again, because advancing French troups. After the Treaty of Pressburg was signed on December 25th, 1805 Ferdinand III had to give up Salzburg in favour of his brother, Austrian emperor Franz II/I and was recompensed with the Duchy of Würzburg. 1 The results presented in this paper were researched by the RISM Arbeitsgruppe Salzburg at the Archiv der Erzdiözese Salzburg (AES) under the direction of Ernst Hintermaier and funded by the Austrian Science Fund (FWF). At the conference Eva Neumayr also spoke about the Salzburg materials at the music Library of the Benedictine Abbey of Maria Einsiedeln, Switzerland. As this topic is dealt with by Claudio Bacciagaluppi in this volume, confer our paper EVA NEUMAYR – UARS E. LAUBHOLD, Die Quellen der Salzburger Dommusik in der Musikbibliothek des Benediktinerklosters Maria Einsiedeln (Schweiz), «Schweizer Jahrbuch für Musikwissenschaft 2010», vol. xxx, Lang, Frankfurt, 2011 (in print) for further information. 1 Ferdinand III of Tuscany2 was an able singer, pianist and collector. As other members of the Habsburg family, he had received ample musical training in his youth. However, as a collector he was, by no means, solely interested in music. Domenicus Hagenauer, abbot of St. Peter’s in Salzburg, recounts a visit to the collections of the Grandduke in January 1805 in his diary and gives us some idea of the widespread interests of the Prince: «Mittwoch den 2ten besah ich mit den Fürsten in Chiemsee und Lavant, und dem Oberst Stalmeister Graf Küenburg die vom Kurfürsten neu neben dem Kloster Refecktor aufgestelte prächtige Bibliotheck. Der Kurfürst hatte die Höchste Gnad, und zeigte uns diese in eigner Person. Man trift in dieser die ausgesuchtesten Werke von allen Wissenschaften, und zwar in den kostbarsten Ausgaben an. Nach einem Aufenthalt von 1 ½ Stund führte uns der gute Regent in seine nächst seinem Schlafzimmer errichtete Hand Bibliotheck in welcher besonders die Authores Classici in verschiedenen Ausgaben, und in einem Nebenzimmer alle seine Musickalien von welchen er ein vorzüglicher Liebhaber ist, zu sehen sind. Er zeigte uns weiter ein erst vor 2 Wochen in Florenz für 300 Dukaten erkauftes Original Gemählde von dem berühmten Raphael Urbino, welches die Mutter Gottes mit dem Kind Jesu vorstellet, und ohne Vergleich das schönste Bild ist, was hier weit und breit zu finden ist. Endlich begleitete er uns durch seine Zimmer in sein neues Gebaude, und wieß uns neben der Konfektstube sein Porcelain, das er zum Theil zu verehren bekommen, theils selbst beÿgeschaffet hat. Dieses gnädigste und für mich besonders schmeichelhafte Herumweisen, und Vorzeigen dauerte bis ½ 1 Uhr, wo wir mit den herablassendsten Ausdrücken entlassen wurden.»3 However, music was certainly one of Ferdinand’s chief interests. During his stay in Vienna between 1799 and 1803 his sister-in-law and cousin Empress Maria Theresia of Naples and Scicily (1772–1807)4, the wife of his older brother Franz, became his singing partner in many private concerts performed at both his and her residence5. A few days after taking possession of Salzburg on April 29th, 1803, he wrote to her, «Music still languishes here, and I have hardly touched the cembalo because, between audiences, papers, and unpacking, I have so 2 Cf. JOHN A. RICE, Empress Marie Therese and Music at the Viennese Court, 1792–1807, Cambridge University Press, New York 2003, p. 48ff. 3 Abt Dominikus Hagenauer (1746–1811) von St. Peter in Salzburg. Tagebücher 1786–1810, ed. by the Historische Sektion der Bayerischen Benediktinerabtei, revised and annotated by Adolf Hahnl, Hannelore und Rudolph Angermüller, 3 vls., Eos, St. Ottilien 2009, p. 1021; [translation by E. Neumayr:] «Wednesday the 2nd I, with the Bishop in Chiemsee and Lavant and the High Equerry Count Küenburg, looked at the library which the Prince-Elector has had erected lately next to the refectory of the convent. The prince was so kind as to show it to us himself. In it there are the most sought-after works of all sciences in the most precious editions. After a stay there of one and a half hours the good regent led us to his reference library next to his bedroom, where, especially, the classical authors in different editions, and, in another room, all of his musical sources, of which he is an excellent enthusiast, are to be seen. He showed us a painting by the famous Raphael Urbino, which shows the Virgin Mary with the child and which is the most beautiful painting found around here far and wide. Finally he accompagnied us through his rooms to his new building and showed us, next to the confect parlour, his porcelain, which he partly got as a gift, partly bought himself. This kind, and for me especially, flattering guiding and showing took us until half past twelve, when we were dismissed with the most condenscending words». 4 In the following the French form of her name, Marie Therese, will be used to discern her from her famous grandmother, Empress Maria Theresia (1717–1780). 5 Cf. JOHN A. RICE, Empress Marie Therese, p. 48f. 2 much to do.»6 This did not prevent him from organizing a group of musicians soon after his arrival to give private concerts with. He also started collecting music from Salzburg, on the one hand, giving commissions to local composers, on the other hand, having works copied. Among the works composed for him is the autograph of Salzburg court chapel master Luigi Gatti’s Oratorio per il giorno dell’Epifania. (I-Fc F.P.T. 115). About this Ferdinand wrote to Marie Therese on Dec. 29th 1804: «L’abate Gatti ha composto un Oratorio per l’Epifania che no ho ancora sentito. Sono curioso di verderne l’esito. Quando sarà stato eseguito ve ne darò conto.»7 Abbot Dominikus Hagenauer was invited to the performance on January 6th, 1805 and wrote in his diary: «Abends wurde ich von Höchst Selben [Ferdinand III] zur neu komponirten Music des Kapelmeister Gatti beÿ der Krippe eingeladen, und blieb demnach beÿm Spiel und beÿ der Soupé»8. Ferdinand reports the first performance to Marie Therese on January 20th, 1805: «L’oratorio dell’Abate Gatti è riescito molto bene, la musica è molto difficile a cantarsi, ed a suonarsi, e se ha un diffetto, si è che è troppo istrumentata, e copre le voci ma ha piaciuto universalmente. Se mai la desiderate ditemelo che la farò subito copiare.» 9 Ferdinand III must have started giving commissions to copyists almost immediately when he arrived in Salzburg in the April of 1803. Maria Anna Freifrau von Berchtold zu Sonnenburg (1751–1829), neè Mozart, who was at that time corresponding with Breitkopf und Härtel about her brother’s works and that of other Salzburg composers possibly interesting for the publisher, bears witness to the acquisitiveness of the Grand Duke when she writes on May 29th, 1803: «Ich hofe daß es mit überschickung der Jos: Haidnschen Messen keine Eile haben wird, den der Copist hat so viel zu thun, dass er nich einmahl noch zeit gehabt hat, solche anzufangen 6 Ferdinand to Marie Therese, Salzburg, 7 May 1803, Vienna, Haus-, Hof- und Staatsarchiv, Familienarchiv (HHStA, Fa) Sammelbände (Sb), Kart. 62, Erzherzog Ferdinand v. Toskana […] an Kais. Marie Therese, 1803, fol. 5r, quoted in: JOHN A. RICE, Empress Marie Therese, p. 49. 7 HHStA, Fa, Sb, Kart. 63, fol. 23, quoted in: RICE, Empress Marie Therese, p. 53 and translated by him as follows: «Abate Gatti has composed an oratorio for Epiphany, which I have not yet heard. I am curious to see how it turns out. When it is performed I will tell you about it». 8 Abt Dominikus Hagenauer (1746–1811) von St. Peter in Salzburg. Tagebücher 1786–1810, p. 1021, [translation by E. Neumayr:] «In the evening I was invited by His Royal Highness to Kapellmeister Luigi Gatti’s newly composed music next to the nativity set, and, afterwards stayed for game and soup».